Kaleidoscope

I think they peaked at 420 for sure. Before the singles run that came after it they were quite an adventurous band all things considered. Emotional Karma is a hodgepodge of different styles from Dir en grey larping to straight SADS to what they eventually ended up sounding like later. They had a few dramatic ballads that clocked in north of 6 minutes, two minutes blurbs of SADS made formless and heavier and in general the stylistic makeup of this band is really the sum of the parts of the members interests. MiA's hard-on for shredding contained in very concise nu vk packages with the least predictable vocalist since like prime kyo of 2002. People who've been calling them generic have been blatantly wrong; they might've been generic for the their own form by end of their run, but not once were they a dime-a-dozen vk band. 
 
 

D.I.D's Akane is a terrible vocalist especially when he attempts high notes. The super unnatural sounding pitch correction doesn't make it any better, making  it incredibly hard for me to enjoy their great instrumentals.
 
/edit: Just to be fair, his screams and mid-range singing are alright.

I'm actually looking forward to this one solely because I can appreciate lynch. more if there are less songs, I actually can tell them apart better like this. That being said, the samples sound decent, I find them more appealing than their last album to be honest.

sample vid is up
 

DADAROMA is, by all accounts available to me, one of the handful of bands from the new crop that have skyrocketed in stature and popularity to the levels previously held by the mid 2000’s indie stalwarts, crashing the party with probably the best case of intuitive visual kei marketing since conditional disbandment by first releasing Oboreru Sakana on Youtube for all gaijins to easily enjoy. Immediate hit in the west relatively speaking, due to its accessibility both in sound and availability, they’ve been on a continual upward surge since. And now two DADAism’s later, the third in the series has just dropped coinciding with the third year into their run.
 
Having now amassed a decent amount of bulk into their discography one can finally make some observations what DADAROMA is, and what they are about. What to note specifically, is that the overall image of their sound is uniquely scattered, and yet aesthetically consistent. Ever since their debut a polarity has been attributed to them; a struggle between the metalcore influence against their wacky, almost The GazettE-esque light-heartedness and a tendency to stick to more traditional nu-metal visual kei riffs and vocal stylings. At this point, three years on from their debut, it can probably be said that this is a false observation. Out of a discography of 47 or so songs, only about 4 or 5 put on their striped deathcore socks, while the rest tread the line of either appropriating the odd stylistic trick from the style or settle comfortably into the visual kei ballad/mid-tempo song territory. What does remain consistent however is their imagery of clowns, sex, clichéd visual kei political commentary and a very loud production that’s as slick as it gets. Looking at the entirety of their output from the past three years one notices that they’ve always been kind of the same; looking, sounding and acting pretty much like they’ve always done and whatever had been mistakenly attributed as a stylistic shift was merely a case of someone being unfamiliar with them. The palette of DADAROMA just happens to be very broad, and they happen to divulge in all the different aspects of it cyclically.
 
What I do think is true however, is that they do some things better than others, and DADAISM 3 is a prime example of it. In the third release of their EP series we see a band distilling all their worst traits into 20-minute slog that’s everything I hope this band will not be about in the future.
 
In their prime DADAROMA uses the interplay of their ability to use metalcore and traditional visual kei’s melodramatic potency to a great effect. In their first PV tracks Oboreru Sakana and Ame no Waltz they bang out a Suicide Silence 101 knock-off and whispery vk vocals at exactly the right times, and climax like the sinking titanic with a lazy vk fade out for the centuries. If perfect 2010’s visual kei was engineered in a laboratory, it’d sound like these two songs did. Fucking tremendous.
 
While for some of the subsequent PV’s they’d showcase their knack for doing other things, I believe that even if they didn’t continue chugging like before, at least they always stayed fun and sexy. When in form, Yoshiatsu gives a degree of gravity to everything he is on and there is no denying what a technically able band there’s behind him; so even when appropriating INSIDE BEAST or being really tacky with Nightmare Before Christmas Tim Burtony jingles, they’re awesome. With DADAISM 3 being something which they haven’t been before: boring.
 
Oddly enough starting out with a high note, DADAROMA’s PV cut this time is MASTURBATION that horrified a segment of the people on this board, and here I’ll make a case for it: MASTURBATION is interesting, loud and very obnoxious. One valuable life lesson I’ve learned from a childhood of watching pro-wrestling is that any reaction is better than no reaction. There’s an inherent value to the over the topness, and especially when it’s quite fitting for a band that’s always been kind of carney, and most importantly sincerely self-aware. Could I do without another mid-period Marilyn Manson dance live song? Yes, but I don’t hate it either and I kind of appreciate it for what it is. Despite everything it still bangs hard and remains true to the band’s spirit.
 
Things halt to a standstill right afterwards however, when DADAROMA apparently decides to churn out a EP’s worth of mid-tempo ballads and nu-nu-visual kei bangers, channelling pop Lynch and the worm-eaten corpse of that version of Girugamesh nobody liked. I’m making it sound worse than it is, but for a band that’s been so consistent a lull like this is both alarming and a curious choice. Before in songs like Yume Tarareba and Zouka what worked in their favour is both their colourful concept and the contrast in the sound of all their elements. Things that were generic were made cool by their skill and unique character. When a band like this then slows down and makes a collection of energetic live songs and heartfelt bittersweet ballads, I become disaffected when they fall short of the grand theatre of what they could be. Romance Gray is immediately forgettable compared to other songs structured the same way with the sampled rainfall and everything; Itoshi teru doesn’t hold a candle to the songs they’ve made before in a similar style either, and in fact every other song on here can as well be categorised into “they’ve done it before, and they’ve done it better.” Sincerely it is the first time this band has done something twice, and now it’s an EP full of very matter of fact diddies that lack the edge of their prior material, aside from the PV cut that’s a Risley Circus B-side with crass lyrics as its saving grace.
 
When this band takes its foot off the pedal, they can start sounding very generic and tired. This can be circumvented by doing things different. Working with your unique concept, not ripping off Lynch and utilising the tools at your disposal in ways that hasn't been done in the scene before. DADAISM 3 is a paint by the numbers EP from a very professional band no matter how you look at it; it doesn’t hit even close to as hard as 1 or have the diversity of 2. If they’ll settle on treading the same ground like a DOGMA Gazette junior, then they’ll absolutely have to bring back the deathcore for some desperately needed flavour, or otherwise we are due for redux of NOW and GO era Girugamesh. If the history of this band is anything to go by then they'll rebound shortly, but there's always that doubt...
 
 

D.I.D's Akane is a terrible vocalist especially when he attempts high notes. The super unnatural sounding pitch correction doesn't make it any better, making  it incredibly hard for me to enjoy their great instrumentals.
 
/edit: Just to be fair, his screams and mid-range singing are alright.

The problem is that these dudes are completely inept and even singing in Swahili wouldn't give them the kind of vocal melody that's up to the standard of the most dime-a-dozen vk bands in Japan ( anyone who claims otherwise probably only listens to two new bands an year and just hates them on principle to look cool to nobody. ) Seike is another who, in addition being woefully unskilled, just never managed to break out of the humming a simple singy songy melody in his parents basement mode. 
 
There's been only one discernible talent in this entire farce and that's Yohio. Disreign can pass off as a legitimate band so god bless them. 
 

there's a practical reason for using japanese anyway, imho
those melodic, vibrato-y, interval-jumping vocal lines vkei is known for are a lot easier to manage in a language where half the sounds are what english calls consonants & half are vowels, and where emphases aren't intrinsic to words/phrases
that's why Kyo singing in english just sounds /different/ compared to him singing the same lines in japanese; i say Kyo bc glass skin & dozing green are recorded in both versions and make for great comparisons like that.

Not to say one language is better than the other - i think on those two diru songs english actually suits them way better and i'm def not saying that bc i can understand Kyo's english better.
There's just different sounds/techniques/styles some languages have less difficulties in expressing than others, so i think there's reason for overseas bands to sing in japanese beyond just the ~aesthetic~ of it.

Not exactly let down by the release, because I was already prepared for the worst after the samples came out.  
My attitude is rather lenient towards them anyway; like whatever they release I'm fairly confident it'll go in cycles with them and a similar and a different song is eventually going to come up. Although I think it can be said that they've been phasing out the deathcore since like the second single in favor of that nu metally/"industrial" angryman sound. This is unfortunate and it does make me wonder whether it's an conscious effort to be more palatable to a larger crowd. It's not like these dudes could have possibly grown out of deathcore in the span of like 6 months. That core cameo on Zouka is one of their best moments, so I hope it'll at least keep making sporadic appearances if we can't get nomo ame no waruzus
 
I like the Masturbation song, and sort of lukewarm on everything else. They never jump out or really gain an intensity that's impossible to ignore. Tired is how I'd describe it. 

I somewhat agree with you, I thought the mini was rather average unfortunately. Masturbation is the only song that I immediately liked as a simple, but pretty fun song - sounds like catchy industrial rock/metal, which fits them well. I'd say that the album grows on you a bit after a few listens, I actually thought that ロマンスグレー was one of the stronger songs. In general, there is not really a bad song on the mini, but there is just nothing that really stands out as amazing either, even though there are some fantastic parts like the end of 狼少年と毒林檎.  On a more positive note, I do think that they are becoming more consistent and polished when it comes to songwriting and Yoshiatsu's performance, plus the jazz-y songs are finally absent for once. 
I'm still pretty convinced that the deathcore-inspired stuff is where their greatest strength lies, but it doesn't seem like they want to pursue that as their primary style. 

Let's get this thread alive.
 
What did people think of dadaism #3? 
 
imo the only song worth listening to is 狼少年と毒林檎, it gives me strong zouka to karashnikov vibes for some reason... Also the weakest song is ロマンスグレー... really ddrm, I'm kind of disappointed.

+1 on kyo holding sukekiyo back
 
also...this might be a surprise coming from me but....i miss nagoya kei
WHEN WILL OLD KUROYUME, ROUAGE, LAMIEL AND KEIN COPY BANDS COME UP?? GET TO READING BITCHES DIR EN GREY AND MADETH ARE BORED!!!
 

D.I.D's Akane is a terrible vocalist especially when he attempts high notes. The super unnatural sounding pitch correction doesn't make it any better, making  it incredibly hard for me to enjoy their great instrumentals.
 
/edit: Just to be fair, his screams and mid-range singing are alright.

just bought my tickets for their 1st ONEMAN and pre-ordered their minialbum - sooooooooo excited!!!!!! 8D

FIXER new mini album 【Libra】 will be released on 06/21/2017 in 2 types
 
EDIT: 05/18 venue presale at their Takadanobaba Area oneman
           06/21/2017 general release 
 
 

 

Oh my god I live for this

Oh my god I live for this

What the Muk did you just Mukin’ say about me, you little pidgey? I’ll have you know my Rattata is in the top percentage of Rattatas, and I’ve been involved in numerous gym battles with Brock, and I have over 300 confirmed Rattata catches. I am trained in Normal-type warfare and I’m the top youngster in the entirety of Pewter City. You are nothing to me but just another trainer. I will wipe you the Muk out with precision the likes of which has never been seen before on Route 3, mark my Muking words. You think you can get away with walking past me on your way to Mt. Moon? Think again, Muker. As we speak, I am contacting my secret network of youngsters across Kanto and your Pokedex is being traced right now so you better prepare for PokeBattle, Magikarp. The PokeBattle that wipes out the pathetic little Pokemon you call your Bulbasaur. You’re muking fainted, Kakuna. I can stand right here, and only right here, and my Rattata can make you black out in over 700 ways, and that's just with tackle. Not only am I extensively trained in Rattata combat, but I have access to the entire arsenal of my comfy cargo shorts and I will use it to its full extent to wipe your miserable Abra off the face of the region, you little Spearow. If only you could have known what a PokeBattle your little walk past me was about to bring down upon you, maybe you would have stayed in Viridian Forest. But you couldn’t, you didn’t, and now you’re paying the price, you pants wearing idiot. I will tail whip fury all over you and you will faint in it. You’re Muking blacked out, Red.

i told y'all she was crazy from day 1 let emmny have WARNED THE PEOPLE when she turns into minpha and doxes the WHOLE FORUM!!!

They both have the same IP address. I bet TheDragonCharizard11 is his cousin from the upstairs.

what the fuck is going on in here on this day

yeah that bass drum trigger tone is awful and this is quite messy but a pretty promising nokubura-lite
love the clean vox and that chorus is to die for....reminds me so much of akane ;__;

The shriek at the start got my hopes up, but they soon dispersed as the song went on. The growls and most of the clean vocals leave much to be desired. Same for the MV. The instrumental breaks towards the middle and end, however, sound pretty good. Too bad they didn't last longer. It has a few shining moments, but the composition seems disorganized to me. Maybe their other songs will suit my taste. 

DIMLIM 1st minialbum "VARIOUS" will be released since their 1st ONEMAN live on 03.06.2017 at ikebukuro black hole.
 
limited: 200 copies
price: 2000yen (tax in)
 
tracklist: 
 
1. アハレワタ
2. THE INVISIBLE 
3. destroy a desire
4. メンタルヘルスダンス
5. Regret
6. 初潮